25 thoughts on “Portrait In Jazz – Bill Evans Trio”

Little comment necessary. Bill Evans with a 22-year old Scott LaFaro and
Paul Motian on drums. One of the most beautiful jazz trio albums ever
recorded; Evans at the height of his early powers, swinging deeply, then
Lafaro completely intertwined with him, revolutionizing the role and
breadth of the bass in music. Bill plays standards as if they are his own
personal songs, as if he is sharing an idea he just discovered that
morning. His sense of harmony is already more advanced than, Bud Powell
respectfully aside, perhaps any jazz piano playing ever previously
recorded. He reels off long, teasing, complex single-note lines at will,
sprinkling tasteful, suspenseful space all across every piece. He is able
to create extraordinary harmonic tension within small harmonic ranges, able
to lean on chromatic patterns without ever sounding mathematic or overly
cerebral. Breathtaking phrasing explodes at every tempo. LaFaro & Motian
are impeccably fluid, and the songs flows effortlessly. An astounding album
recorded during the pinnacle of the ’55-’63 jazz renaissance that occurred
in the Western Hemisphere.
Highest rating possible?

YES! Finally found what I call real Jazz. So tired of all this modern ‘pop’
Jazz that is devoid of a double bass! I love Jazz trios or quartets. I love
music thats similar to Brubek’s Take Five… that to me is true Jazz.
Everything else sucks.?

AllMusic:
Review by Scott Yanow
The first of two studio albums by the Bill Evans-Scott LaFaro-Paul Motian
trio (both of which preceded their famous engagement at the Village
Vanguard), this Portrait in Jazz reissue contains some wondrous interplay,
particularly between pianist Evans and bassist LaFaro, on the two versions
of “Autumn Leaves.” Other than introducing Evans’ “Peri’s Scope,” the music
is comprised of standards, but the influential interpretations were far
from routine or predictable at the time. LaFaro and Motian were nearly
equal partners with the pianist in the ensembles and their versions of such
tunes as “Come Rain or Come Shine,” “When I Fall in Love,” and “Someday My
Prince Will Come” (which preceded Miles Davis’ famous recording by a couple
years) are full of subtle and surprising creativity. A gem.?